Viacom

CMT Awards’ Immersive Fans Festival Boosts Viacom’s Live Events Strategy

by Stuart Winchester, Viacom

More than 2 million fans dialed up the CMT Awards earlier this month, watching across three Viacom networks (CMT, Paramount Network and TV Land), as Blake Shelton took Video of the Year and Male Video of the Year for I’ll Name the Dogs, and Carrie Underwood carried Female Video of the Year for The Champion, featuring Ludacris. Little Big Town hosted. Dan + Shay scored an upset Duo Video of the Year win for Tequila. Luke Bryan, Dierks Bentley and Florida Georgia Line debuted energetic new singles. Even the Backstreet Boys picked up an award.

And don’t forget about the Royal Family spoof:

CMT Music Awards

But for some fans, that parade of star power across their screens just isn’t enough. For the second consecutive year, thousands of the most dedicated descended upon Nashville for the CMT Summer of Music Festival, which this year sprawled across three days and five events and drew an estimated 25,000 fans.

“Last year, we evolved the CMT Music Awards from a one-night-only-TV event into a multi-day festival spread across the city,” CMT General Manager Frank Tanki told Billboard. “It was a huge success with fans and advertiser partners alike, allowing everyone involved to experience CMT is an entirely new and powerful way.”

This multiday meeting of high-powered sponsors (Ram Trucks, Boston Beer, Kind Bar, Pedigree pet food), with rollicking events (a puppy festival, an emerging-artists concert, a taping of Crossroads, a block party), injects a multidimensional element into CMT’s marquee event.

Fans in Nashville for the awards would usually just “end up at the honky tonks on lower Broadway,” CMT Senior Vice President of Partnerships Adam Steingart told Variety. “But there’s so much more to provide to them that enhances the overall experience.”

NASHVILLE, TN – JUNE 06: Little Big Town performs onstage at the 2018 CMT Music Awards at Bridgestone Arena on June 6, 2018 in Nashville, Tennessee. (Photo by Jason Kempin/Getty Images for CMT)

This broadening of an annual awards show into an immersive fan adventure is a strategy long used by CMT’s fellow Viacom network BET, which hosts the four-day BET Experience (which is ongoing now through June 24 in Los Angeles), leading up to its annual BET Awards (this Sunday, June 24). This increasing focus on live events is in fact proliferating across Viacom, as the company increasingly diversifies outside of its core business under President and CEO Bob Bakish.

“Again, the events space in this fiscal year, every flagship brand [NickelodeonNick Jr.MTVBETComedy CentralParamount Network], will have an events in the U.S.,” Bakish told a gathering of investors at the Morgan Stanley Technology, Media & Telecom Conference in March. “That is something that was not true before. So, that’s Nickelodeon, that’s Comedy Central … So, that’s an important incremental activity and one that consumers and advertisers and for that matter, talent, like.”

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Viacom Wins 90 Awards at PromaxBDA 2018

Viacom brands totalled 90 North America PromaxBDA Promotion, Marketing and Design Awards at a gala in New York on June 14.

Nickelodeon (21 awards), Comedy Central (27), the Paramount Network (7), Paramount Channel (6), BET (2), MTV (4), Viacom Velocity (6), Viacom Catalyst (1), Viacom18 (10) and VIMN (5) were widely represented across the Gold, Silver and Bronze awards in various categories for domestic and international productions.

Additionally, PromaxBDA honored Debra Lee, BET’s long-time former CEO, with its Lifetime Achievement Award for “her decades of achievement in our entertainment and media industry.”

Congratulations to Lee and to all of Viacom’s PromaxBDA winners and shortlist honorees. Take a look at the full list of winners for each division below:

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Viacom Activates Powerful Studio Model Growth Driver As MTV, Nick Move Into Third-Party Production

by Stuart Winchester, Viacom

Pinky Malinky is an upbeat teenager who has a lot in common with his peers: he posts rabidly on social media, he hangs out nonstop with his two best pals, and he constantly must navigate the social pressures of school and life. But there’s one very important thing that will make Pinky unique among Nickelodeon characters (besides the fact that he’s a talking hotdog): when his show debuts later this year, fans will find him exclusively on Netflix.

But Pinky won’t likely be alone for long – across Viacom’s ecosystem, brands are digging into their vaults to identify intellectual property that could be an ideal fit for a digital or linear programmer outside of Viacom. MTV, under the banner of MTV Studios, is for the first time cracking open its rich, 35-year archive to offer its iconic, youth-centric content – Real World, Daria, Aeon Flux, the Emmy Award-winning Made, just to start – in new or reimagined form on non-Viacom platforms. In addition to strategically tapping the 200 titles in its massive library, MTV Studios will churn out new ones, including, to start, The Valley (working title), about a group of friends growing up in the U.S.-Mexico border town of Nogales, and MTV’s Straight Up Ghosted, in which victims of this mobile-age abandonment will confront their disappearing former intimates.

Similar efforts will follow at other Viacom networks.

This studio model – under which Viacom will license and produce new episodes of fully owned content for third parties – will present an enormous growth opportunity, as the company’s brands increasingly feed the insatiable global demand for premium content.

Viacom is uniquely positioned to do this. The company’s voluminous original content libraries house an enormous number of beloved properties that speak deeply to their fans. Its archives stretch back decades – and, in the case of Paramount Pictures, more than a century. Its properties resonate deeply with high-value audiences: kids (Nickelodeon), African-Americans (BET), youth (MTV), the LGBTQ community (Logo), and more. Viacom’s global footprint means that those audiences stretch across cultures and borders. As the first port-of-call for creatives pitching shows tailor-made for these audiences, Viacom’s brands are keenly aware of what is in the market. Its production expertise is second to none.

And even as these sorts of deals multiply, Viacom will retain all consumer products rights for all properties, fueling the company’s increasingly robust consumer products operation.

The possibilities for third-party licensing and production are practically limitless. Pinky Malinky – which will feature Nick branding at the show open and embodies Nickelodeon’s patented spirit of fun and surprising stories and characters – is just the first of up to a dozen properties that the brand is positioning for reboots or co-productions this year alone.

Valen-time to hang out with my best friends! ❤️❤️ @babs_buttman @jj_james0n

A post shared by Pinky Malinky (@pinky_malinky) on

“Proliferating distribution platforms create incremental demand for VIAB’s [Viacom’s] content because high-quality branded content is one of the most valuable forms of differentiation for competing distribution platforms,” Needham declared in a bullish March analysis of the company’s stock. “VIAB’s film and television libraries represent differentiated, globally scalable, long-lived content.”

Take, for example, Jack Ryan, the Tom Clancy action hero who fought his way through five Paramount Pictures films, starting with 1990’s The Hunt for Red October. The quintuplet of movies grossed hundreds of millions of dollars and still carries strong brand recognition and a built-in fanbase. But while there is no obvious basecamp for Ryan within Viacom’s current brand archipelago, his bulletproof vest is a perfect fit for Amazon Video, which will debut the 10-part Jack Ryan series in August.

This branching out into third-party content production has been subtly underway for some time, both in the United States and abroad. Paramount Television, the production arm of Paramount Pictures that is producing Jack Ryan, has quietly built a $400 million-per-year business from scratch by producing premium content like Netflix’s 13 Reasons Why and USA Network’s Shooter.

In May, Viacom International Studios (VIS) united the extensive production capabilities of wholly Viacom-owned Argentinian broadcaster Telefe and majority-owned Brazilian comedy brand Porta dos Fundos with Viacom’s Miami-based production operations, creating a multi-lingual machine that will develop, produce and distribute original content around the world. A matrix of SVOD, pay TV and free-to-air distribution deals will place VIS-produced long-form series (Borges on Netflix in Latin America), cinematic adaptations (Telefe’s Animal on Fox Networks’ platforms in Latin America), telenovelas (Vikki RPM on Caracol Televisión in Colombia), and co-productions (Club 57 on Rainbow Group in Italy and Nickelodeon elsewhere) in diverse markets and maximize the potential of formerly regional or local properties.

These licensing deals will therefore sprinkle tastes of Nickelodeon and MTV and Telefe and other Viacom properties throughout the global content ecosystem, while segmenting the full brand experience for consumers who subscribe to a Viacom linear or digital distributor. Even so, this nascent third-party production is already acting as a powerful growth driver as Viacom diversifies outside of its core television business under President and CEO Bob Bakish.

“Building on the success of Paramount Television and Telefe’s quickly growing production business, we’re going to much more aggressively tap into the huge demand for content and unlock more of our IP and production and creative capabilities to drive incremental revenues from third-party platforms,” Bakish said on Viacom’s second-quarter 2018 earnings call in April. “This isn’t just an idea. … there is a lot of interest from SVOD partners in licensing library properties from MTV and Nickelodeon IP for brand-new interpretations. At the same time, we’re also developing new IP for the sector and have already closed deals for brand-new original Nick IP and animation with third parties and we see more in the pipeline.”

Team Viacom Runs the Central Park Night at 42nd J.P. Morgan Corporate Challenge

by Stuart Winchester, Viacom

The Viacom employees’ identical black racing shirts bore a lightning bolt back-dropping a three-word statement of intent: Run the Night. In the clear and humid May evening they did exactly that, dashing through 3.5 miles of hills and springtime trees in Manhattan’s Central Park, a 150-member collective scattered amid 15,000 workers from 329 companies bounding through the 42nd annual J.P. Morgan Corporate Challenge.

Viacom employees gather before the first night of the J.P. Morgan Corporate Challenge in Central Park on May 30, 2018.

Leading Team Viacom’s women’s group with a time of 25:42 was Alyssa Curci, a senior manager of vendor management in the company’s Media and Technology Services group.

“The energy was amazing,” Curci, who was participating in her first Corporate Challenge, recalled. “Everybody was excited to be there.”

Curci, who swam competitively at Division 1 Lehigh University, took up running after moving to New York City. She now runs three to five miles at least two days per week along the running paths that trace the rivers surrounding Manhattan.

As someone who joined Viacom just the month before the race, Curci appreciated elements of the challenge beyond the opportunity for an employer-sanctioned workout.

“I’m trying to meet a lot of the employees in Viacom, so this is a really nice opportunity,” Curci recalled. “When you’re the new person somewhere, it can be very intimidating, and you want to be a part of the group and a part of the family, and the fact that anyone who wanted to participate was allowed to was great. It’s an inviting culture, which is something that I really value about Viacom. It’s why I joined the company.”

Alyssa Curci, left, and Ross McGraw, right, finished tops in the female and male categories among their Viacom colleagues at the 2018 J.P. Morgan Corporate Challenge.

For at least the third consecutive year, Ross McGraw finished first among all Viacom employees – and 15th overall – with a time of 18:47.

That McGraw finished near the top of the standings is little surprise – he is a committed athlete who placed first in the ITU World Triathlon in Bermuda earlier this year and will compete in triathlons in Philadelphia and New York City as a City Coach athlete over the coming two weekends. He will also compete in the USA Triathlon AG Nationals in Cleveland in August, race as an Elite-license-carrying Pro at the Ironman 70.3 in Lake Placid in September, and start as part of the Local Elite group in November’s New York City Marathon.

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“We Feel Great About Where Viacom Is Today,” CFO Wade Davis Tells Gabelli Conference

by Stuart Winchester, Viacom

NEW YORK, NY – APRIL 08: Viacom CFO Wade Davis attends the 2014 UJA-Federation of New York’s Leadership Awards Dinner at Pier Sixty at Chelsea Piers on April 8, 2014 in New York City. (Photo by Taylor Hill/FilmMagic)

“We feel great about where Viacom is today,” Viacom Executive Vice President and Chief Financial Officer Wade Davis told an audience of investors at the recent Gabelli Movie & Entertainment Conference. “From a fundamental standpoint, we think a lot of the strategies that we’ve been focused on and putting in place are paying off. … the first half of 2018, our fiscal 2018 is really a transition into delivering growth in the second half of 2018 and beyond, and we feel really good about that, focus 100 percent on delivering that.”

Here are a few more highlights from Davis’ remarks at the event. You can listen to the full event here.

Advanced Marketing Solutions and strong linear pricing are driving ad sales growth

“Pricing is incredibly strong right now in the linear market … So the growth is coming from what we call our Advanced Marketing Solutions portfolio or AMS [advanced addressable inventory and brand solutions]. So between those two areas – advanced addressable inventory where we’re activating new pools generally of non-linear inventory that are addressable in nature, and brand solutions – we have a portfolio business that as we’ve said publicly is going to approach $300 million this year. It’s really — it’s growing 40-plus-or-minus percent quarter-over-quarter, and we think that rate of growth will carry into 2019, and actually in the first part of 2019 accelerate.”

Growth comes over the top  

“So when you think about where Viacom is, we’re extremely well represented in the traditional distributor-led virtual MVPDs [multichannel video programming distributor]. That’s Sling, that’s DIRECTV NOW, and those are really the virtual MVPDs that matter. … We’d love to be on [Hulu and YouTube], we’re in discussions with those guys all the time. … And as we’ve gone through and stabilized our relationships with the traditional distributors, we’ve had a lot of success in getting ourselves very well positioned with respect to any virtual or OTT product that any of those traditional distributors will launch.”

Mobile is a global growth engine

“Mobile is a place where we’re significantly benefited by our global business. We made a lot of investments in bringing mobile bundles to market internationally. I guess we’ve announced at the moment five different partnerships that we have with mobile distributors around the world in which we’re licensing some form of bundle of our content into the mobile distributors. … And we’re in very advanced discussions with the three biggest operators in the United States, feel very good about where we’re positioned with them.”

Cornerstone networks in major international markets and mobile are driving growth outside the U.S.

“The [international] business is growing double digits, both top line and bottom line. … We operate in 180 countries. We have cornerstones in the biggest, most important markets, India and Asia, UK, which is the most attractive largest media market outside of the United States, and we’re the number one broadcaster in Argentina … And then there are some underlying trends that we think are different than the domestic market. … You do have a much more progressive mobile infrastructure [internationally]. As we said, a lot of these international markets, their principal Internet access is mobile and consequently their mobile offerings are a lot more mature. … And there’s also some of the same trends and tailwinds that we’re seeing in the SVOD [subscription video on demand] marketplace, domestically are starting to play themselves out globally.”

A “world-class team of operators” is transforming Paramount Pictures

“Every member of [Paramount Pictures’] senior management team except for the CFO is new. … We’ve completely overhauled all of the processes, the green light process, development process, global marketing, et cetera. So the business is running much more efficiently. We have a world class team of operators who bring new energy to the studio. … [and Paramount Television] should do about $400 million of revenue this year, and should, for the first time, be a contributor to operating income. It’s important to keep in mind that this is really still a startup. … it’s still in a growth phase, and we expect very, very strong double-digit growth on the revenue base above and beyond the $400 million that we expect this year.”

A “forever effort” transformation will save Viacom hundreds of millions of dollars

“…  when you think about our focus on margin enhancement, it really relates to efficiencies outside of content investment. So we’ve announced that we’ve undertaken a cost transformation effort. And for us, that’s not just a onetime restructuring. I think a lot of media companies and even Viacom historically would, from time to time, announce a restructuring in which they would write off some content, let some people go. But this is an effort that we view as a forever effort and something that’s part of the new culture that we’re trying to build. We have a team that’s a full-time team staffed focused on this. We’ve been very public about the amount of savings that we’re going to be able to deliver out of the current efforts being more than $100 million in the current year and in excess of $300 million in 2019 and beyond.”

A comprehensive reimagining of the content pipeline is connecting Viacom networks with their natural audiences

“The big issue for us and the big opportunity for us is bringing the focus that we’ve cited around our flagship six networks, being able to concentrate the spend where it matters most and being very precise about what the programming strategy and the brand promises for each of those brands. … So a good example of that is MTV which had historically been dabbling in very expensive scripted programming. That scripted programming is not programming that worked particularly well on MTV for MTV’s audience, and it consumed a ton of dollars for a very small amount of hours. Not enough hours to actually have MTV be a destination for high-end scripted dramas. So what we’ve done is we’ve concentrated our efforts around high-end scripted on the Paramount Network. As it relates to MTV it’s allowed us for really in some cases less money dramatically increased the amount of original programming that we have on the network, but most importantly, it’s programming that’s aligned with a vision that’s important to MTV’s audience.”

Volunteer Spotlight: Taryn Sauthoff Uses Tech Talent for Good

Editor’s note: Viacom’s partner, Catchafire, originally published the article below on Medium. The two organizations collaborate on the Talent for Good program, which creates opportunities for Viacom employees to put their skills to work in the community.

Taryn Sauthoff, a Viacom employee in New York, is the embodiment of Talent for Good at work. She applied her web development skills to help YoungMoms, a non-profit organization that supports pregnant and parenting young women in rural Pennsylvania, build a new website. Sauthoff completed the volunteer project in a few months and continues to collaborate with the organization.

The homepage of YoungMoms, which Taryn Sauthoff helped develop.

Below is an excerpt from her testimonial:

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Viacom Brands Win Five 2018 Cynopsis Social Good Awards

Viacom won five 2018 Cynopsis Social Good Awards for its civic-minded media focused on LGBT advocacy, disaster relief, and anti-bullying action, among other issues. Read about each campaign below.

Awareness Campaign/Initiative – Children’s Sector

Nickelodeon Creative Advertising – Nick SPLAT – Truth – Trivia

Cynopsis recognized Nickelodeon for Nick SPLAT Trivia, a partnership between the kids entertainment brand and nationally renowned smoking prevention organization Truth. Nick SPLAT Trivia, a lighthearted PSA in the form of a game show (complete with old-school 90s Nick graphics), educates young viewers on the ugly truth behind big tobacco.

Truth’s initiative is to get the millennial generation to take a stand against big tobacco and their profiling by using the Nick splat voice and audience.

Branded Campaign for a Digital, Broadcast or Cable TV Series

Comedy Central/Viacom Velocity – The Daily Show & Truth: Go Away Big Tobacco

On the adult front, Comedy Central’s late-night sensation The Daily Show With Trevor Noah aired a PSA, produced by Viacom’s in-house design agency, Velocity, illuminating the facts about big tobacco.

Awareness Campaign/Initiative – Human Rights

MTV – #EyesOnChechnya – Awareness Campaign/Initiative – Human Rights

MTV earned the Awareness Campaign/Initiative honor, for its social media campaign #EyesOnChechnya, a multifacteted marketing crusade that shed light on the horrific treatment of LGBT citizens in Chechnya, part of Russian. In Chechnya, gay and bisexual men are persecuted – rounded up and tortured for their sexuality. MTV is preventing the world from looking away while these atrocities continue. (You can visit the website  to learn more and take action).

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Nine Quotes From Viacom’s Code B.L.A.C.K. Executive Panel On Building A Successful Career

 

My parents were born in an era where there were no African-American astronauts or African-American women CEOs, but as a millennial, I am blessed to live in era where representation is constantly part of conversations.

When The Beat, Viacom’s employee resource group devoted to the African-American experience, hosted Code B.L.A.C.K.: A Panel of Black Executives as part of its wide-ranging Black History Month celebration, I was grateful to be able to sit in this room of insightful leaders:

Trudi Patrick, Moderator – Executive Assistant –Advanced Advertising

Kodi Foster Senior Vice President of Data Strategy

Nadja Webb – Senior Vice President and Deputy General Counsel of Business & Legal Affairs

Michael Armstrong – General Manager of BET Networks

Ericka Wright Tomlinson Vice President of Human Resources for BET Networks and Viacom’s Finance, Core Services, Marketing & Communications teams

While we discussed the challenges of corporate politics, we also joked about things like reading The Shade Room for news. Representation matters and being in a room with other people who care about seeing and hearing from black executives was just what I needed this Black History Month.

Overall, I learned a lot from these executives. Here are my 10 favorite quotes from the event:

Viacom employees at the Code B.L.A.C.K. executive panel. From L to R: Gerald Yarborough, Essence Dashtaray, Georgette Pierre, Trudi Patrick, Nadja Webb, Destiney Bishop, Michael D. Armstrong, Kodi Foster, Ericka Wright Tomlinson and Ezinne Kwubiri.

“In 2007, I had a boss who was a control freak and was very territorial over her work and typically gave me work to do and she would present it in meetings. An opportunity came to launch a huge project and present it to [former head of MTV] Judy McGrath. At the time of this meeting she was traveling. Despite the fact that I did all the work, she told me to postpone the meeting. I spoke to my mentor who encouraged me to present the project I had been working on. So, after going back and forth, I made the executive decision to present it. After presenting it in front of so many senior people, they complimented me and told me I’d lead the project. I thought I was going to get fired, but that was the pivotal moment that I decided that I would present it and ask for forgiveness later and it ended up working out. I could have been the quiet little black girl in the back or decided to step up and do it and I decided to just do it and after that project, I presented it, and ended up getting promoted, which led me to the position I am in now.” – Wright Tomlinson

“Working on Wall Street, I was working late one day. I happened to answer the phone in the area known as the pit, even though I usually don’t answer calls, but I ended up having to explain to a couple in Iowa why their life savings was gone. It was kind of heavy. I was a kid, looking at numbers on spreadsheets and not putting human beings behind the numbers. That was when it hit me, that I wasn’t doing something constructive to better the world, which I feel like we do here by delighting people with entertainment and I decided to change careers.” – Foster

“It took me a long time to understand that you have to have agency over your career. No one else is going to do it for you. I made a classic mistake of trying to always work hard and expect people to notice and lift me up and give me opportunities but it’s on you. You have to identify what you want. If you’re stuck, you have to first identify what you want or think you might like to do and second is to communicate that to the stakeholders involved.” – Webb

“I think being ‘stuck’ in your career is relative. There’s a difference between you’re stuck versus it’s just not your time. Some of us are ready for the next step almost immediately while others are in the same position for over 20 years. There has to be a level of self-examination. Appreciate where you are, are you achieving your goals, and if you’re ready for the next step and not because you think you deserve it. Determine what your ultimate goals are.” – Wright Tomlinson

“I think managing corporate politics is simple. While it can be difficult and political, the easy part is if you show up as your true and authentic self, you don’t have to remember when you’re faking it and when you’re being real. That doesn’t mean you don’t have to calibrate. Knowing the environment, you’re operating in, if you need to adjust your authentic self, the people around you will let you know.” – Armstrong

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Viacom Global Insights Digest: June 2018

by Christian Kurz, Global Consumer Insights, Viacom

Viacom’s latest consumer insights include global kids’ fearless attitude toward life, the benefits of social media for all age groups, young Americans’ disappointment in politicians, and from Australia stories on grand-parenting and kids’ happiness. As always, on our blog you can find these and all our stories in English, Latin American Spanish and Brazilian Portuguese.

With strong emotional support networks and broadening skill sets, today’s kids are courageous and resilient.
America’s next generation of voters feels disenfranchised – and plans to vote in November.
A new study reveals that grandparents in Australia cherish their role as caregivers, even though it can come at a cost.
The benefits of social media outweigh the drawbacks, according to our latest research.
Australian kids are happy, independent and resilient. Close relationships with family, friends and pets are the main source of their contentedness.

Team Viacom Marches to Stomp Out AIDS

Here’s a shocking statistic: one in five new HIV infections is among people ages 13 to 24.

These are the same young people at the heart of so much of Viacom’s programming. On Sunday, May 20, Viacom showed that it is caring, giving, walking, and fighting to battle this epidemic by participating in AIDS Walk New York, the largest single-day AIDS fundraising event in the world.

The team, 50-strong and the driving force behind more than $10,000 in donations to AIDS Walk NY (proceeds will benefit GMHC and dozens of other local HIV/AIDS service organizations), rallied prior to the walk alongside other top corporate sponsors in the so-called “gold section,” a segment reserved for the top fundraising teams, which Viacom has been a part of for several years.

After a team photo, we joined thousands of other walkers in the 10-kilometer march through Manhattan’s Central Park. It was nothing short of spectacular. Sporting this year’s red T-shirt, Team Viacom marched, jumped, and cheered together, standing out in a sea of 20,000 other passionate walkers beneath 80-degree sunshine and clear skies. We waved two large Viacom flags as cheerleaders clutching megaphones called out the company name. Volunteers handed out water, granola bars and chips at stations along the route, which was a giant loop through the hills of green and blooming Central Park. With music booming from the sidelines, Team Viacom moved and grooved all the way to the red-and-white-balloon-laden finish line.

Team Viacom makes its way through New York City’s Central Park during the 2018 AIDS Walk.

The efforts were well worth it. Despite groundbreaking new treatments and developments, HIV/AIDS is not a thing of the past. In fact, New York leads the nation in the number of new HIV cases. More than 100,000 New Yorkers have died from AIDS-related causes, while another 108,000 are living with HIV/AIDS – 20 percent of them do not know they are infected.

While HIV/AIDS affects people of every background and demographic, it disproportionally strikes certain groups: black females live with an HIV diagnosis at a rate 13.8 times higher than that of white females, while 77 percent of new HIV diagnoses and AIDS-related deaths in New York City were among African-Americans and Hispanics in 2016.

This breadth of this impact inspired Team Viacom to rally across brands, employee resource groups, and network talent to gather support for AIDS awareness and prevention. Employees across all New York offices and their families, friends, current and former colleagues were welcome to sign up, donate and walk with the team.

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